New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1887-10-16
MIR. HOMELESS NEW BOOK
A CRITICISM OF ITALIAN POETRY.

Mr. Howsils ms done the reading public real
service in publishing this volume OF studies OF
modern Italian poets. The general subject Is Que
information concerning which IS scant and hard TO
come at III tbs first place, and In the second 1t IS
distinct privilege to be intro laced to line of
foreign poets by a critic who has himself climbed
the sleeps OF PaFnassus and whose taste and skill
enable him t. set before us versions OF the poetry
he interprets such as few il any of his contempo-
rarles could compass He has. moreover, contTved
to present the poets of modern Italy III the IN ost
interesting way possible and while this may grow
naturally out OF the circumstances governing their
song ITS significance might not have been so
clearly exhibited by person less Keen OF observa-
ton or less sympathetic The popularity of tho
Italian poetry OF the last century, as shown by MI
HOweils IS its relation to the national conditions
1t 49, indeed open to any one to contend that their
environment influenced and INSPIRED these poets.
and iu one sense this view is InconteStabe. but
from a general observation OF the times 1t might
easily be concluded that the spirit OF freedom
moved in Their hearts before IL had began TO dls-
turb the coarser sensIbite of the people and mat
the agitation which gradually extended over al
Italy passing from province IT, province and from
dukedom 20 dukcdom, originated in the impulse
given thus to patriotism and discomfort.
However tnlt may be 1t Is evident, aS MIR. How
ellis points out, that note dominates the poetry
OF the century preceding Italian unlhcation and
enfranchSement. 1t is Interesting 10 trace the
growth of tbs patriotic note. Mr. Houeils goes back
TO the time of the Academies of Arcadia for the be-
ginpings of this movement. Beyond that PERIOD III
would have been equally futile and unedliying TO
push the quest. 1t was the lowest depth OF intel
leciual stagnation throughout the country. LIB
erty there was none and there little virtue
or social force of any kind. Patriotism seemed ex-
tinct. The masses sunk IN apathy, the arls-
in fry %
ing state of things can be had than the eagerness
with which the educated classes threw themselves
into the silly inanites represented by the estab-
lishment every where of the Arcadlan Academies.
These were assemblies or associations Tor the
fostering and dissemination of the most puerle,
pithless, artificial and graceless forms OF verse,
whose popularity only attested the decline OF H.
tellectua yigor and natloral h!e The affecta-
tions and follies of the English EuphuiSts cannot
be compared with them. for the Euphulsts never
were in England mole than passing eccenircIty,
and they were laughed at even while they flour
ished In Italy the Arcadian Academies embraced
all that survived of tie poetic spirit. and yet, so
low NAV national understanding fall without SUI
fering rreparaby. the darkest hour IN this case
was that when preceded dawn.
Just how or why the sitting sSupidities of the
Arcadlans were broken in upon BY verse holding
in solution some genuine manllncss Of thought,
some regret and shame for the degradation or
the country it is perhaps not possible 10
set forth III detail. But by degrees new light
began to spread and had penetrated the darkness
but little way when the Italian people realized
the virtue and meaning of the change and sprang
with enthusiasm toward the Illuminating forces.
Then Italian poetry became part and parcel OF tie
slow but ceaseIess movement toward freedom ana
unity. 1t was political force, and one OF the most
precious. despite the rigor of the repression which
compelled every rhymester to cloak his meaning 10
sneak in parallels and allegories, to express his
hatred for living tyranIs by cursing the dead
tyrants of antiquity No doubt in the strongest
verse of the Italian poets Of that period there Is
GOODNESS and harshness which form strange con-
trast 10 the honeyed nothngs of the preceding CEN
tury; but poets who are patriots cannot be ex.
fected to put the means before the end or to voice
the passion which rends their souls in soft and
flowing phrases. Mr., Howells gives several trans
latlons from Alieri. deprecatingly. They are so
good-so very much better than Bowring's version
which is the only English one extant-as to su &
gest the hope that the author of " Modern Italian
Poets" may be led to undertake the whole OF
Alters tragedies. The great poet has not yet
.heen ipterpretsl. BOwring's version OF his plays
though faithful in a wooden way, conveys no idea
of the fire and fervOr which inform them. Dir
Howells himself thinks Alfer hard, and so he Is !;
but what intensity, what depth of passion, there Is
in his best work Both Mauzoni and Niccoini exec |
him III the creation of character His people are OF
plastic They resemble the figures of Greek tragedy
which were rather embodments of passions than
human creatures complex many-sided feeble ana
mutable. In the rigid classic form affected by
Alferi wherein adherence to the unites crowded
the action into nexpressibly brief space OF time,
this supernatural energy and oneness OF character
does not detract from the general effect On the
contrary, it increases it. Thus IN the Orestes the
sweep and energy of the action. the tremendous
dominancy of the great passions represented, the
sombre thoroughness of all the people in their des-
tined parts seem to carry the drama above the
demands of consistency and fidelity to common
life. We are made to feel that it belongs to quite
another category, that it IS beyond ordinary
dramatic criticism. and that however little 1t re-
sembles mundane experiences 1T Is great with the
mysterious grandeur of a vanished legendary world
Mr. Howells has given examples OF all the
eighteen poets represented in this volume. aud ii
may fairly be concluded that III each case he has
selected those verses which possess most gene ra
and abiding interest. 1t Is Oneof the conditions OF
roetrv serving political purposes that Its interest
shouId be evanescent, and that after time 1t
should become Oh scnre and even pointless Inc
satire of Parini does occasionally possess abiding
value in it's present of the manners ana fobes
of the time but the political verse of nearly all the
italian poets though exercising when written
powerful influence upon public opinion. Is seldom
of kind to appeal to another generation. ii f'l-
lows from this that a selection such AS Mr Howells
has made is really better fitted to attract
attention and excite interest than more
ambitious aud fuller renderi ng would W.
have hero IN modest volume what may
be Justly considered the pick aud choice OF great
uuantity of verses. by far the most of which have
ceased to be interesting The dramas OF Aheri
ManzonI and Niccolmi are not to Dc IN
cluded in this judgment, however They are
works of art which and will bt
admired and appreciated in all times
Tbere is also an Italian poet whose verse and mood
separate him from his fellows Giacomo Leopard